National Film Award for Best Non-Feature Film Editing

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National Film Award for Best Non-Feature Film Editing
National award for contributions to short film
Sponsored by Directorate of Film Festivals
Reward(s)
  • Rajat Kamal (Silver Lotus)
  • 50,000 (US$700)
First awarded1990
Last awarded2017
Most recent winnerSanjiv Monga and Tenzin Kunchok
Highlights
Total awarded31
First winnerRajasekharan

The National Film Award for Best Non-Feature Film Editing 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 the 38th National Film Awards and awarded annually for 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
YearRecipient(s)Film(s)Language(s)CitationRefs.
1990
(38th)
RajasekharanMohiniyattamEnglish
For making use of the full potential of the dimensions of space and time with creative excellence.
[1]
1991
(39th)
Rajesh ParmarSanchariEnglish
For his work, which beautifully creates a structure that responds to the rhythms of the dance.
[2]
1992
(40th)
K. R. BoseKalarippayatEnglish
For deft cutting of difficult sequence which makes it possible to maintain the rhythm and tempo of the film.
[3]
1993
(41st)
Rajesh ParmarColors of AbsenceEnglish
For smooth, precise and excellently edited work, which gives the film its unique rhythm, in keeping with its form and content.
[4]
1994
(42nd)
Paresh KamdarRasayatra  Hindi
 English
For the elegant pace with which he discovers spatial correlatives for the inherent musicality.
[5]
1995
(43rd)
B. Lenin Kutravali Tamil
For rhythmic pace in relation to the appropriate mood of both the films.
[6]
V. T. Vijayan Oodaha
1996
(44th)
A. Sreekar Prasad Nauka CharitramuEnglish
For knitting together harmoniously into an unbroken visual flow in the film.
[7]
1997
(45th)
Ujjal NandyJataner Jami Bengali
For the seamless and rhythmic flow of visual images, juxtaposing hope and despair in a harmonious aesthetic.
[8]
1998
(46th)
Reena MohanIn The Forest Hangs a BridgeEnglish
For weaving a narrative imbued with lyricism of life.
[9]
1999
(47th)
Ajit KumarOf Confucius, S-Spots and Toy guns English
 Hindi
 Marathi
 Tamil
For the creative and crisp juxtaposition of imagery which complements the theme of the film.
[10]
2000
(48th)
Sankalp MeshramLokpriyaHindi
For skilfully juxtaposing three streams of visuals into one rhythmic meaningful narrative.
[11]
2001
(49th)
AjithAthman Universal
For maintaining the pace and drama of the film without any spoken words.
[12]
2002
(50th)
Prathapan P.00:00English
For its intelligent and engaging use of cinematic form and structure as it weaves itself in and out of hotel rooms and people's lives on New Year's Eve at a sea-side hotel.
[13]
2003
(51st)
Beena Paul Unni Malayalam
For the way she supports the eerie pace of a story that swings from here to beyond.
[14]
2004
(52nd)
Prashant NaikHarvest of Hunger English
  Oriya
For documenting with apathy of the drought stricken villagers, by fluent and flowing editing style, keeping the interest on the subject, very engaging.
[15]
2005
(53rd)
Vibuti NathjhaNaina Jogin Hindi
  Maithili
For its skilful editing. It is difficult to make out where one sequence ends and the other begins!
[16]
2006
(54th)
Amitabh ChakrabortyBishar BluesBengali
For creating a rhythm which is unhurried and profound and that is in tune with the life and world view of Fakirs in rural Bengal.
[17]
2006
(54th)
Amit Debnath
2007
(55th)
Saikat RayHope Dies Last in War English
 Hindi
For its creative blending of various elements of the past and present, as also for its seamless flow of images that evoke genuine emotions.
[18]
2008
(56th)
Manoj KannothStations Hindi
 Marathi
 English
For a delicately interwoven edit of three sparsely connected contemporary urban tales of alienation. Developing a rhythm with parallel and simultaneous stories, the cutting sculpts an extremely powerful contemporary form.
[19]
2009
(57th)
Tarun BhartiyaIn CameraEnglish
For being able to seamlessly juxtapose past and present experiences in the form of images.
[20]
2010
(58th)
Tinni MitraGermHindi
For the abstract visualisation and endearing black &white tones are very effectively punctuated with fine editing, and in the process it maintains a very subtle and flowing rhythm and pace to carry forward the cinematic work.
[21]
2011
(59th)
Iram GhufranThere is Something in the Air Hindi
  Urdu
 English
For infusing the film with a magical rhythm that underscores its inherent poetry.
[22]
2012
(60th)
Irene Dhar Malik Celluloid Man  English
 Hindi
 Kannada
 Bengali
For the skilful interweaving of images from the past and present, juxtaposed seamlessly into a compelling, multi layered narrative.
[23]
2013
(61st)
Arjun Gaurisaria Gulabi Gang  Hindi
 Bundelkhandi
For imparting the film with its structure and rhythm, tempo and drama, movement and exposition.
[24]
2014
(62nd)
Andi Campbell WaiteTigress BloodEnglish
For seamlessly structuring the inner worlds of four tigress sisters through an incisive cinematic arrangement of their outer spaces.
[25]
2015
(63rd)
Parvin AngreBreaking FreeEnglish
For an orchestrated cuts and curves to depict the hardship of the oppressed.
[26]
2015
(63rd)
Sridhar Rangayan
2016
(64th)
Jishnu SenGudh
Seamlessly weaves the inner worlds of a young boy’s innocence with the harsh realities of the journey he is embarking on.
[27]
2017
(65th)
Sanjiv MongaMrityubhoj: The Death Feast
Well-paced editing of a sombre subject that keeps the audience engaged till the end.
2017
(65th)
Tenzin Kunchok
2018
(66th)
Hemanti SarkarSon Rise
For its faultless pace and seamless structure in drawing the viewer into the depth and gravity of the film’s focus, through varied space, location and time.

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References

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