National Film Award for Best Non-Feature Film Audiography

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National Film Award for Best Non-Feature Film Audiography
National award for contributions to short film
Sponsored by Directorate of Film Festivals
Reward(s)50,000 (US$700)
First awarded1990
Last awarded2018
Most recent winner
  •  Biswadeep Chatterjee
  •  Ajay Bedi
    (Location sound recordist)
Highlights
Total awarded
  •  32
  •  2
    (Location sound recordist)
First winnerSujit Sarkar

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).

Contents

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:

Awards legends
*
Location Sound Recordist
List of award recipients, showing the year (award ceremony), film(s), language(s) and citation
YearRecipient(s)Film(s)Language(s)CitationRefs.
1990
(38th)
Sujit SarkarMohor Bengali
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.
[1]
1991
(39th)
Anil TendulkarSons of Abotani: The Misings Mishing
For the selective and imaginative use of commentary and dialogues and the sculpted sound which enriches the film.
[2]
Gautam Bora
1992
(40th)
Sanjoy ChatterjeeWangala: A Garo FestivalEnglish
For a sustained standard of sound recording on difficult locations which enriches the quality of the film.
[3]
1993
(41st)
Indrajit NeogiMaihar RaagBengali
For extremely imaginative and conceptual use of location sounds to depict the crumbling heritage of the Maihar orchestra.
[4]
1994
(42nd)
Indrajit NeogiAnother Way of LearningEnglish
For together bringing about a quality of sound, which so enhances the acoustic, that the viewer becomes a participant.
[5]
A. M. Padmanabhan
1995
(43rd)
Shyam SunderTatva Hindi
For the creative use of sound to interpret the theme of the film.
[6]
1996
(44th)
Nihar R. SamalTat Tvam Asi Hindi
 English
For his restrained, balanced and multi-layered soundtrack.
[7]
1997
(45th)
Pankaj ShilMatir BhanrBengali
For its strong sound structure which is woven and enmeshed into the fabric of the film.
[8]
1998
(46th)
Satheesh P. M. Kumar TalkiesHindi
For a sound design which evokes a vision of an era fading away.
[9]
1999
(47th)
Chinmoy NathThe Vehicle with a Soul of a Man 
For imaginatively capturing the hard labour and tediousness of the Pitthu through the sound design achieved through an appropriate synthesis of sound and silence.
[10]
2000
(48th)
Hari KumarA Memory of the SeaEnglish
For designing sound that imaginatively and creatively enhances the mood and narration of the film.
[11]
2001
(49th)
Anup MukherjeeEnough of SilenceEnglish
For adding a new dimension to the film through innovative sound track.
[12]
2002
(50th)
No Award [13]
2003
(51st)
Ramesh BirajdarBhaba PaaglaBengali
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.
[14]
2004
(52nd)
VivekKshy Tra GhyaHindi
For evolving an experimental form of narration within a story form, with excellent sound design.
[15]
2005
(53rd)
Anmol BhaveCloser 
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.
[16]
2006
(54th)
Partha BarmanBishar BluesBengali
For creating a sound track by combining location sound, ambience sound and music that enhance the "meaning" of the film.
[17]
2007
(55th)
Ajit Singh Rathore KramashaHindi
For the innovative sound design enhances the mood of the film and draws one into the magical ambience replete with fairy tales.
[18]
2008
(56th)
Mateen Ahmad Children of the Pyre Hindi
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.
[19]
2009
(57th)
Lipika Singh DaraiGaarud Hindi
  Marathi
For imaginative use of ambient sounds in effectively creating diverse soundscapes.
[20]
2010
(58th)
Harikumar Madhavan Nair A Pestering Journey   Malayalam
  Punjabi
 Hindi
 English
  Tulu
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.
[21]
2011
(59th)
Gautam Nair1, 2Hindi
For creating an aural world that enhances the layered narrative structure of the film.
[22]
2012
(60th)
Harikumar M.Do Din Ka Mela Kutchi
For patiently and passionately capturing the world of sounds that beautifully create the rustic flavour that is so critical to this film.
[23]
2013
(61st)
Gautam NairChidiya Udh 
For a layered and resonant sound track with elements of ambiguity and discord contributing to an overwhelming sense of urban disconnect.
[24]
2014
(62nd)
Anindit RoyTender is the Sight 
The film travels through the imaginary line of manifest and unmanifest worlds of visual and sound that balance effortlessly, imprinting the audience with a haunting aural experience.
[25]
Ateesh Chattopadhyay
Ayan Bhattacharya
2015
(63rd)
Moumita RoyEdpa Kana Kurukh
Soulful sound amidst silence – differences made audible.
[26]
2016
(64th)
Ajith Abraham George In Return Just a Book English
Live recording has been done in a detailed and in-depth manner bringing alive the entire ambience.
[27]
2017
(65th)
Avinash SonawanePavasacha NibandhaMarathi
A near perfect marriage of sound with visuals and narrative in a manner that enhances the impact of the film.
Samarth MahajanThe Unreserved
Skilful recording of audio in difficult and complicated locations that has made the film come alive.
2018
(66th)
Biswadeep ChatterjeeChildren Of The Soil
For potently bringing to life, through sound design, every element in this poignant tale of farmer suicides.
Ajay BediThe Secret Life Of Frogs
For uniformly capturing the delicate sounds of its tiny protagonists and of the wild and unpredictable environs they inhabit.

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References

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