Satyajit Ray’s Two (1964) is a silent short film that, while brief in form, carries a deep critique of social hierarchies and human relations. This paper analyzes the film through the theoretical lens of Cultural Studies and Semiotics, drawing on Stuart Hall’s encoding/decoding model and Roland Barthes’ ideas of signification to decode its visual and narrative strategies. By situating the film within the broader socio-political context of postcolonial India and the global Cold War moment, the study examines how Ray encodes the contrast between the affluent child and the street child as a symbolic struggle between privilege and deprivation, domination and resistance. The analysis focuses on mise-en-scène, sound design, and visual juxtapositions, revealing how toys, musical instruments, and even silence function as semiotic markers of class, consumerism, and cultural assertion. Beyond its aesthetic brilliance, the film demonstrates interdisciplinary relevance, intersecting with sociology, political science, childhood studies, and media theory. The study argues that Two transcends its historical moment by offering a timeless reflection on inequality, cultural imperialism, and resilience of the marginalized. Through a cultural studies framework, the paper shows how Ray transforms a seemingly simple children’s rivalry into a powerful allegory, underscoring the enduring capacity of cinema to critique society and stimulate theoretical inquiry.
Rochak Saxena (Wed,) studied this question.