Question: Have Humphrey Jennings and Ritwik Ghatak both been recognised by the Government of India?

full_context: Document 1: Bimal Roy: Bimal Roy (Bengali: বিমল রায় ) (12 July 1909 – 8 January 1966) was an Indian film director. He is particularly noted for his realistic and socialistic films like "Do Bigha Zamin", "Parineeta", "Biraj Bahu", "Madhumati", "Sujata", and "Bandini", making him an important director of Hindi cinema. Inspired by Italian neo-realistic cinema, he made "Do Bigha Zameen" after watching Vittorio De Sica's "Bicycle Thieves" (1948). His work is particularly known for his mise en scène which he employed to portray realism. He won a number of awards throughout his career, including eleven Filmfare Awards, two National Film Awards, and the International Prize of the Cannes Film Festival. "Madhumati" won 9 Filmfare Awards in 1958, a record held for 37 years.
Document 2: Bedeni (film): Bedeni, also known as Arup Kotha (1951–52) is an unfinished Bengali film directed by legendary filmmaker Ritwik Ghatak. This was the first movie in which Ritwik worked as a director.
Document 3: Tapan Sinha: Tapan Sinha (2 October 1924 – 15 January 2009) was one of the most prominent Indian film directors of his time forming a legendary quartet with Satyajit Ray, Ritwik Ghatak and Mrinal Sen. He was primarily a Bengali filmmaker who worked both in Hindi cinema and Bengali cinema, directing films like "Kabuliwala" (1957), "Louha-Kapat", "Sagina Mahato" (1970), "Apanjan" (1968), "Kshudhita Pashan" and children's film "Safed Haathi" (1978) and "Aaj Ka Robinhood". Sinha started his career in 1946, as a sound engineer with New Theatres film production house in Kolkata, then in 1950 left for England where he worked at Pinewood Studios for next two years, before returning home to start his six decade long career in Indian cinema, making films in Bengali, Hindi and Oriya languages, straddling genres from social realism, family drama, labour rights, to children's fantasy films. He was arguably the most uncompromising filmmaker outside the orbit of Parallel Cinema.
Document 4: John Grierson: John Grierson CBE (26 April 1898 – 19 February 1972) was a pioneering Scottish documentary maker, often considered the father of British and Canadian documentary film. In 1926, Grierson coined the term "documentary" in a review of Robert Flaherty's "Moana".
Document 5: Ramkinkar Baij (film): Ramkinkar Baij (or Ramkinkar)- is an incomplete personality study or documentary on sculptor Ramkinkar Baij created by legendary filmmaker Ritwik Ghatak. He started creating the film in 1975. The film was almost complete but it still remained unfinished for the death of Ritwik Ghatak.
Document 6: Ritwik Ghatak: Ritwik Ghatak (Bengali: ঋত্বিক কুমার ঘটক , "Ritbik Kumar Ghôţôk",    ; 4 November 19256 February 1976) was a Bengali filmmaker and script writer. Along with prominent contemporary Bengali filmmakers Satyajit Ray and Mrinal Sen, his cinema is primarily remembered for its meticulous depiction of social reality. Although their roles were often adversarial, they were ardent admirers of each other's work and, in doing so, the three directors charted the independent trajectory of parallel cinema, as a counterpoint to the mainstream fare of Hindi cinema in India. Ghatak received many awards in his career, including National Film Award's Rajat Kamal Award for Best Story in 1974 for his "Jukti Takko Aar Gappo" and Best Director's Award from Bangladesh Cine Journalist's Association for "Titash Ekti Nadir Naam". The Government of India honoured him with the Padma Shri for Arts in 1970.
Document 7: Powell and Pressburger: The British film-making partnership of Michael Powell (1905–1990) and Emeric Pressburger (1902–1988)—together often known as The Archers, the name of their production company—made a series of influential films in the 1940s and 1950s. —24 films between 1939 and 1972—were mainly derived from original stories by Pressburger with the script written by both Pressburger & Powell. Powell did most of the directing while Pressburger did most of the work of the producer and also assisted with the editing, especially the way the music was used. Unusually, the pair shared a writer-director-producer credit for most of their films. The best known of these are "The Life and Death of Colonel Blimp" (1943), "A Canterbury Tale" (1944), "A Matter of Life and Death" (1946), "Black Narcissus" (1947), "The Red Shoes" (1948), and "The Tales of Hoffmann" (1951).
Document 8: Night Mail: Night Mail is a 1936 documentary film about a London, Midland and Scottish Railway (LMS) mail train from London to Scotland, produced by the GPO Film Unit. The film ends with a "verse commentary" by W. H. Auden, written for existing footage. Benjamin Britten scored the film. The film was directed by Harry Watt and Basil Wright, and narrated by John Grierson and Stuart Legg. The Brazilian filmmaker Alberto Cavalcanti was sound director. The locomotive featured in the film was Royal Scot 6115 "Scots Guardsman", built in 1927. The film has become a classic of its own kind, much imitated by adverts and modern film shorts. "Night Mail" is widely considered a masterpiece of the British Documentary Film Movement.
Document 9: Mrinal Sen: Mrinal Sen (also spelled "Mrinal Shen", born 14 May 1923) is a legendary Indian filmmaker based in Kolkata. Along with his contemporaries Satyajit Ray and Ritwik Ghatak, he is often considered to be one of the greatest ambassadors of Indian parallel cinema on the global stage. Like the works of Ray and Ghatak, his cinema is known for its artistic depiction of social reality. Although the three directors shared a healthy rivalry, they were ardent admirers of each other's work, and in so doing, they charted the independent trajectory of parallel cinema, as a counterpoint to the mainstream fare of Hindi cinema in India. Mrinal Sen is an ardent follower of Marxist Philosophy.
Document 10: Film-poem: The film-poem (also called the poetic avant-garde film, verse-film or verse-documentary) is a label first applied to American avant-garde films released after World War II. During this time, the relationship between film and poetry was debated. James Peterson in "Dreams of Chaos, Visions of Order" said, "In practice, the film poem label was primarily an emblem of the avant-garde's difference from the commercial narrative film." Peterson reported that in the 1950s, overviews of avant-garde films "generally identified two genres: the film poem and the graphic cinema". By the 1990s, the avant-garde cinema encompassed the term "film-poem" in addition to different strains of filmmaking. Film-poems are considered "personal films" and are seen "as autonomous, standing apart from traditions and genres". They are "an open, unpredictable experience" due to eschewing extrinsic expectations based on commercial films. Peterson said, "The viewer's cycles of anticipation and satisfaction derive primarily from the film's intrinsic structure." The film-poems are personal as well as private: "Many film poems document intimate moments of the filmmaker's life."
Document 11: Jukti Takko Aar Gappo: Jukti Takko Aar Gappo ("Jukti tôkko aːr gôppo", English: "Reason, Debate and a Story") is a 1974 Bengali film directed by Ritwik Ghatak. "Jukti Takko Aar Gappo" was Ritwik Ghatak's last film. The film won National Film Award's Rajat Kamal Award for Best Story in 1974.
Document 12: Nagarik: Nagarik (Bengali: নাগরিক ), also spelled as Nagorik, The Citizen in English, was the first feature-length film directed by Indian director Ritwik Ghatak. Completed in 1952, it preceded Satyajit Ray's "Pather Panchali" as perhaps the first example of an art film in Bengali cinema, but is deprived of that honor, since it was released twenty-four years later, after Ghatak's death. On 20 September 1977, it finally premiered at the New Empire theatre in Kolkata, India. Ritwik Ghatak directed only eight feature films, but is generally regarded as one of the few truly original Indian talents in cinema by directors such as Satyajit Ray and critics such as Derek Malcolm.
Document 13: Listen to Britain: Listen to Britain is a 1942 British propaganda short film by Humphrey Jennings and Stewart McAllister. The film was produced during World War II by the Crown Film Unit, an organisation within the British Government's Ministry of Information to support the Allied war effort. The film was nominated for the inaugural Academy Award for Documentary Feature in 1943, but lost against four other Allied propaganda films. It is noted for its nonlinear structure and its use of sound.
Document 14: Humphrey Jennings: Frank Humphrey Sinkler Jennings (19 August 1907 – 24 September 1950) was an English documentary filmmaker and one of the founders of the Mass Observation organisation. Jennings was described by film critic and director Lindsay Anderson in 1954 as: "the only real poet that British cinema has yet produced."
Document 15: Max Anderson (director): Maxim Anderson (25 April 1914 in London, England – 10 July 1959) was a British director and producer of documentaries. He worked with the GPO Film Unit from 1936 onwards, and later changed to Crown Film Unit. He directed documentaries such as "The Harvest Shall Come" (1942) and "Four Men in Prison" (1950).
ground_truth: no