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The present study has been divided into eight chapters. The first chapter introduces the topic of research. It lays emphasis on the need of research in the field of cinema with perspectives of folklore. It presents the objectives of the study along with the research methodology adopted. Towards the end of the chapter, significance of the study as well as limitations of this research have been enumerated.

For a comprehensive understanding of the topic, the researcher extensively reviewed related literature and has accommodated the same in the second chapter of this thesis under the title Review of Related Literature and Studies. The chapter analyzes the different perspectives gained from books, research papers, journals and web-sources which the researcher has consulted through the last five years of study. It also tries to throw light upon the research gap in the concerned area, thus underlining the significance of the study once again.

In Chapter 3, the researcher has outlined a broad journey in regard to cinema in India, with emphasis on the history of Assamese cinema. The chapter titled History of Indian Cinema with Special Reference to Assam: A Broad Overview has been divided under a number of sub-headings which include鈥攊ntroductory note on the concepts and functions of cinema, beginning of the Indian film era with silent cinema, advent of the talkies, the studio era and later ages, Indian Parallel cinema movement and middle of the road鈥� cinema, and a brief history of Assamese cinema. The chapter has been concluded with a note on 鈥榠ndie鈥� filmmaking in India and its gradual popularity. Right from the practice of 鈥榤agic lantern鈥� shows in the country, emphasis has been laid to divide the history of cinema into a proper timeline. In order to make the discussion inclusive, contribution made by the stalwarts in the nascent stage of film production in the country has been incorporated in a manner as lucid as possible. Another important aspect of this chapter is that it discusses Joymati (1935), the first Assamese film, made by Jyotiprasad Agarwalla, under socio-political light. The development of Assamese cinema and its moderate presence at the international front has also been included. The chapter is wrapped up through a note about 鈥榠ndie鈥� cinema in India and its valued essence.

In order to offer an exclusive observation made through literature review and film watching, the fourth chapter deals with highlighting the intricate relationship between folklore and cinema. Titled as Folklore in Indian Cinema, the chapter is broadly divided under two headings鈥攊) Indian Cinema and Folklore, and ii) Folklore and Genres in Indian Cinema. This is the chapter around which the entire research has been planned and executed. Hence, in this chapter, the researcher tries to evaluate the presence of folklore in Indian cinema and how cinema has contributed in the making of the folk.

After a considerably long discussion on the intimate relationship between folklore and Indian cinema, the fifth chapter finally enters into the life and works of renowned filmmaker and pioneer of parallel cinema in Assam, Dr. Bhabendra Nath Saikia. Since the research emphasizes on the films made by this director, therefore it is of utmost importance to understand him as a filmmaker and how he used cinema as a medium of communication. A prominent writer himself, Dr. Saikia wrote very little about his films. Hence the researcher had to rely upon the available literature composed by some of his close associates. His autobiographies were consulted in detail and the researcher has tried to reach as many hues behind the making of this genius storyteller. A detailed discussion on the technical aspects and plot summary of Dr. Bhabendra Nath Saikia鈥檚 films have also been included in this chapter where the researcher has tried to incorporate as much detailing about the films as possible. This chapter is hence titled as Dr. Bhabendra Nath Saikia as a Filmmaker.

The sixth chapter has been entitled Assamese Cinema and Its Folkloric Elements. Here, a brief discussion has been made throughout the history of Assamese cinema emphasizing on the reflection of folklore in text, subtext, production design, music and other aspects of cinema. Carefully handpicked films have been used for enumerative discussion in this chapter.

The findings of the research and their analysis form the core of chapter seven which is Folklore in Films by Dr. Bhabendra Nath Saikia. The chapter has been devoted to carefully underlining the folkloric aspects of every film made by Dr. Saikia, while categorically arranging the filmic aspects under the demarcated genres of folklore. For the ease of analysis the chapter has been divided into several sub-headings.

Chapter eight is the concluding chapter of the thesis. This chapter is dedicated to the chapter wise summary of the entire thesis and narrates the findings of the study in a concrete form, highlighting the objectives and research questions of the present study. The chapter examines whether the research objectives have been fulfilled and also enumerates the findings against the research questions. While concluding the thesis, this chapter also speaks out the observations of the researcher after a lengthy academic discourse.