National Film Award for Best Non-Feature Film Audiography
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National Film Award for Best Non-Feature Film Audiography | |
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Type | National |
Category | Short films |
Instituted | 1990 |
First awarded | 1990 |
Last awarded | 2013 |
Total awarded | 23 |
Awarded by | Directorate of Film Festivals |
Cash award | ₹50,000 (US$740) |
Medal | Rajat Kamal (Silver Lotus) |
First awardee(s) | Sujit Sarkar |
Recent awardee(s) | Harikumar M. |
The National Film Award for Best Non-Feature Film Audiography is one of the National Film Awards presented annually by the Directorate of Film Festivals, the organisation set up by Ministry of Information and Broadcasting, India. It is one of several awards presented for non-feature films and awarded with Rajat Kamal (Silver Lotus).
The award was instituted in 1990, at 38th National Film Awards and awarded annually for the short films produced in the year across the country, in all Indian languages.
Winners
Award includes 'Rajat Kamal' (Silver Lotus) and cash prize. Following are the award winners over the years:
List of award recipients, showing the year (award ceremony), film(s), language(s) and citation | ||||
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Year | Recipient(s) | Film(s) | Language(s) | Citation |
1990 (38th) |
Sujit Sarkar[1] | Mohor | Bengali | <templatestyles src="Template:Hidden begin/styles.css"/>
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For preserving the aura of Gurudev's presence by transporting the audience through the years in the flowering of Rabindra Sangeet, embellishing the performance of the great singer Kanika Bandopadhyay.
|
1991 (39th) |
• Anil Tendulkar[2] • Gautam Bora |
Sons of Abotani: The Misings | Mishing | <templatestyles src="Template:Hidden begin/styles.css"/>
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For the selective and imaginative use of commentary and dialogues and the sculpted sound which enriches the film.
|
1992 (40th) |
Sanjoy Chatterjee[3] | Wangala: A Garo Festival | English | <templatestyles src="Template:Hidden begin/styles.css"/>
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For a sustained standard of sound recording on difficult locations which enriches the quality of the film.
|
1993 (41st) |
Indrajit Neogi[4] | Maihar Raag | Bengali | <templatestyles src="Template:Hidden begin/styles.css"/>
For extremely imaginative and conceptual use of location sounds to depict the crumbling heritage of the Maihar orchestra.
|
1994 (42nd) |
• Indrajit Neogi[5] • A. M. Padmanabhan |
Another Way of Learning | English | <templatestyles src="Template:Hidden begin/styles.css"/>
For together bringing about a quality of sound, which so enhances the acoustic, that the viewer becomes a participant.
|
1995 (43rd) |
Shyam Sunder[6] | Tatva | Hindi | <templatestyles src="Template:Hidden begin/styles.css"/>
For the creative use of sound to interpret the theme of the film.
|
1996 (44th) |
Nihar R. Samal[7] | Tat Tvam Asi | • Hindi • English |
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For his restrained, balanced and multi-layered soundtrack.
|
1997 (45th) |
Pankaj Shil[8] | Matir Bhanr | Bengali | <templatestyles src="Template:Hidden begin/styles.css"/>
For its strong sound structure which is woven and enmeshed into the fabric of the film.
|
1998 (46th) |
Satheesh P. M.[9] | Kumar Talkies | Hindi | <templatestyles src="Template:Hidden begin/styles.css"/>
For a sound design which evokes a vision of an era fading away.
|
1999 (47th) |
Chinmoy Nath[10] | The Vehicle with a Soul of a Man | – | <templatestyles src="Template:Hidden begin/styles.css"/>
For imaginatively capturing the hard labour and tediousness of the Pitthu through the sound design achieved through an appropriate synthesis of sound and silence.
|
2000 (48th) |
Hari Kumar[11] | A Memory of the Sea | English | <templatestyles src="Template:Hidden begin/styles.css"/>
For designing sound that imaginatively and creatively enhances the mood and narration of the film.
|
2001 (49th) |
Anup Mukherjee[12] | Enough of Silence | English | <templatestyles src="Template:Hidden begin/styles.css"/>
For adding a new dimension to the film through innovative sound track.
|
2002 (50th) |
No Award[13] | |||
2003 (51st) |
Ramesh Birajdar[14] | Bhaba Paagla | Bengali | <templatestyles src="Template:Hidden begin/styles.css"/>
For sound design which evokes a vision of a world far, far away from the madding crowd, which oscillates between the silences and nature's pristine sounds.
|
2004 (52nd) |
Vivek[15] | Kshy Tra Ghya | Hindi | <templatestyles src="Template:Hidden begin/styles.css"/>
For evolving an experimental form of narration within a story form, with excellent sound design.
|
2005 (53rd) |
Anmol Bhave[16] | Closer | – | <templatestyles src="Template:Hidden begin/styles.css"/>
For its outstandingly imaginative use of sound design complementing an equally breath-taking visual wizardry. Closer leaves its audience with a sense of beauty and awe.
|
2006 (54th) |
Partha Barman[17] | Bishar Blues | Bengali | <templatestyles src="Template:Hidden begin/styles.css"/>
For creating a sound track by combining location sound, ambience sound and music that enhance the "meaning" of the film.
|
2007 (55th) |
Ajit Singh Rathore[18] | Kramasha | Hindi | <templatestyles src="Template:Hidden begin/styles.css"/>
For the innovative sound design enhances the mood of the film and draws one into the magical ambience replete with fairy tales.
|
2008 (56th) |
Mateen Ahmad[19] | Children of the Pyre | Hindi | <templatestyles src="Template:Hidden begin/styles.css"/>
With multiple layers of sound, and the incessant crackle of funeral pyres that cease to sleep, the film grips its audience with a sense of entrapment around the life of children working inside a cremation ground. It is a telling example of digetic sound design keeping its truth to the reality of the location.
|
2009 (57th) |
Lipika Singh Darai[20] | Gaarud | • Hindi • Marathi |
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For imaginative use of ambient sounds in effectively creating diverse soundscapes.
|
2010 (58th) |
Harikumar Madhavan Nair[21] | A Pestering Journey | • Malayalam • Punjabi • Hindi • English • Tulu |
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Does one hear the cry of the pest? In between the sound of the real and evoking music, the ensuing silence tells us the stories beyond.
|
2011 (59th) |
Gautam Nair[22] | 1, 2 | Hindi | <templatestyles src="Template:Hidden begin/styles.css"/>
For creating an aural world that enhances the layered narrative structure of the film.
|
2012 (60th) |
Harikumar M.[23] | Do Din Ka Mela | Kutchi | <templatestyles src="Template:Hidden begin/styles.css"/>
For patiently and passionately capturing the world of sounds that beautifully create the rustic flavour that is so critical to this film.
|
2013 (61st) |
Gautam Nair[24] | Chidiya Udh | – | <templatestyles src="Template:Hidden begin/styles.css"/>
For a layered and resonant sound track with elements of ambiguity and discord contributing to an overwhelming sense of urban disconnect.
|
References
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