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This collection of essays by subject specialists examines the politics of violence, communalism, and terrorism as negotiated in cinema; the representations of identitarian politics; and the complex ideological underpinnings of literary adaptations.
Indian Popular Cinema by K. Moti Gokulsing,Wimal Dissanayake Pdf
The book reviews nine decades of Indian popular cinema and examines its immense influence on people in India and its diaspora. Since it was published in 1998, Indian film has developed in new directions. As films today vie with Indian soap operas for popularity, film making in India has acquired 'industry status' and consequently has greater accountability to its public. All this is reflected in this new and extensively revised edition of "Indian Popular Cinema". It tracks the rise of "designer cinema," reviews the increasingly significant Tamil cinema, and considers films made by Indians in the diaspora.
Class, Power & Consciousness in Indian Cinema & Television by Anirudh Deshpande Pdf
This book offers a historical understanding of the Indian Audio-Visual media as well as examines and deconstructs the relationship between fact and fiction, history and imagination, nationalism and communalism, nation and gender, history and war, media and mentality and cinema and social identities particularly in Hindi cinema.
Indian Cinema Beyond Bollywood by Ashvin Immanuel Devasundaram Pdf
This is the first edited volume on new independent Indian cinema. It aims to be a comprehensive compendium of diverse theoretical, philosophical, epistemological and practice-based perspectives, featuring contributions from multidisciplinary scholars and practitioners across the world. This edited collection features analyses of cutting-edge new independent films and is conceived to serve as a beacon to guide future explorations into the burgeoning field of new Indian Cinema studies.
What remains of the “national” when the nation unravels at the birth of the independent state? The political truncation of India at the end of British colonial rule in 1947 led to a social cataclysm in which roughly one million people died and ten to twelve million were displaced. Combining film studies, trauma theory, and South Asian cultural history, Bhaskar Sarkar follows the shifting traces of this event in Indian cinema over the next six decades. He argues that Partition remains a wound in the collective psyche of South Asia and that its representation on screen enables forms of historical engagement that are largely opaque to standard historiography. Sarkar tracks the initial reticence to engage with the trauma of 1947 and the subsequent emergence of a strong Partition discourse, revealing both the silence and the eventual “return of the repressed” as strands of one complex process. Connecting the relative silence of the early decades after Partition to a project of postcolonial nation-building and to trauma’s disjunctive temporal structure, Sarkar develops an allegorical reading of the silence as a form of mourning. He relates the proliferation of explicit Partition narratives in films made since the mid-1980s to disillusionment with post-independence achievements, and he discusses how current cinematic memorializations of 1947 are influenced by economic liberalization and the rise of a Hindu-chauvinist nationalism. Traversing Hindi and Bengali commercial cinema, art cinema, and television, Sarkar provides a history of Indian cinema that interrogates the national (a central category organizing cinema studies) and participates in a wider process of mourning the modernist promises of the nation form.
A Companion to Indian Cinema by Neepa Majumdar,Ranjani Mazumdar Pdf
A new collection in the Wiley Blackwell Companions to National Cinemas series, featuring the cinemas of India In A Companion to Indian Cinema, film scholars Neepa Majumdar and Ranjani Mazumdar along with 25 established and emerging scholars, deliver new research on contemporary and historical questions on Indian cinema. The collection considers Indian cinema's widespread presence both within and outside the country, and pays particular attention to regional cinemas such as Bhojpuri, Bengali, Malayalam, Manipuri, and Marathi. The volume also reflects on the changing dimensions of technology, aesthetics, and the archival impulse of film. The editors have included scholarship that discusses a range of films and film experiences that include commercial cinema, art cinema, and non-fiction film. Even as scholarship on earlier decades of Indian cinema is challenged by the absence of documentation and films, the innovative archival and field work in this Companion extends from cinema in early twentieth century India to a historicized engagement with new technologies and contemporary cinematic practices. There is a focus on production cultures and circulation, material cultures, media aesthetics, censorship, stardom, non-fiction practices, new technologies, and the transnational networks relevant to Indian cinema. Suitable for undergraduate and graduate students of film and media studies, South Asian studies, and history, A Companion to Indian Cinema is also an important new resource for scholars with an interest in the context and theoretical framework for the study of India's moving image cultures.
Narratives of Gendered Dissent in South Asian Cinemas by Alka Kurian Pdf
This book conducts a post-colonial, gendered investigation of women-centred South Asian films. In these films, the narrative becomes an act of political engagement and a site of feminist struggle: a map that weaves together multiple strands of subjectivity—gender, caste, race, class, religion, and colonialism. The book explores the cinematic construction of an oppositional narrative of feminist dissent with a view to elaborate a historical understanding and theorisation of the ‘materiality and politics’ of the everyday struggle of Indian women. The book analyzes the ways that ‘cultural workers’ have tended to use subversive narratives as a tool of resistance. Narratives that are political, ideological, classed, raced and gendered offer the focus of this exploration. Through strategies of disclosure and documentation of memory, personal experiences, and imaginary events shaped by the larger historical, political, and cultural contexts, these discursive texts engage in the processes of struggle against a plethora of oppression: caste, class, religion, patriarchal, sexual, and (neo)colonial. The study looks at the manner in which, through their creative and aesthetic interventions, South Asian film makers enable the articulation of an alternative gendered subjectivity as well as constitute the ground for personal and collective empowerment. Films discussed include Shyam Benegal’s Nishaant, Nandita Das’ Firaaq, Beate Arnestad’s My Daughter the Terrorist, and Sarah Gavron’s Brick Lane.
World Cinema: A Critical Introduction is a comprehensive yet accessible guide to film industries across the globe. From the 1980s onwards, new technologies and increased globalization have radically altered the landscape in which films are distributed and exhibited. Films are made from the large-scale industries of India, Hollywood, and Asia, to the small productions in Bhutan and Morocco. They are seen in multiplexes, palatial art cinemas in Cannes, traveling theatres in rural India, and on millions of hand-held mobile screens. Authors Deshpande and Mazaj have developed a method of charting this new world cinema that makes room for divergent perspectives, traditions, and positions, while also revealing their interconnectedness and relationships of meaning. In doing so, they bring together a broad range of issues and examples—theoretical concepts, viewing and production practices, film festivals, large industries such as Nollywood and Bollywood, and smaller and emerging film cultures—into a systemic yet flexible map of world cinema. The multi-layered approach of this book aims to do justice to the depth, dynamism, and complexity of the phenomenon of world cinema. For students looking to films outside of their immediate context, this book offers a blueprint that will enable them to transform a casual encounter with a film into a systematic inquiry into world cinema.
New Indian Cinema in Post-Independence India by Anuradha Dingwaney Needham Pdf
Shyam Benegal is an Indian director and screenwriter whose work is considered central to New Indian cinema. By closely analysing several of Benegal’s films, this book provides an understanding of India’s post-independence history. The book examines the filmmaker’s focus on women by highlighting his subtle and critical engagement with a truism of Indian nationalism: women’s centrality to the (nation-) state’s negotiation with modernity. It looks at the importance Benegal accords to history – its little known, contested, or iconic events and figures – in crafting national culture and identities, and goes on to discuss the filmmaker’s nuanced representation of the developmental agendas of the nation-state. The book presents an account of the relationship of historical film and fiction to official history, and provides a fuller understanding of Indian cinema, and how it is shaped by as well as itself shapes national imperatives. Filling a gap in the literature, the book offers an analysis of cinematic treatment of post-independence narratives and gives important insights into the imagination of the time. It is a useful contribution for students and scholars of Film Studies, South Asian History and South Asian Culture.
Routledge Handbook of Indian Cinemas by K. Moti Gokulsing,Wimal Dissanayake Pdf
India is the largest film producing country in the world and its output has a global reach. After years of marginalisation by academics in the Western world, Indian cinemas have moved from the periphery to the centre of the world cinema in a comparatively short space of time. Bringing together contributions from leading scholars in the field, this Handbook looks at the complex reasons for this remarkable journey. Combining a historical and thematic approach, the Handbook discusses how Indian cinemas need to be understood in their historical unfolding as well as their complex relationships to social, economic, cultural, political, ideological, aesthetic, technical and institutional discourses. The thematic section provides an up-to-date critical narrative on diverse topics such as audience, censorship, film distribution, film industry, diaspora, sexuality, film music and nationalism. The Handbook provides a comprehensive and cutting edge survey of Indian cinemas, discussing Popular, Parallel/New Wave and Regional cinemas as well as the spectacular rise of Bollywood. It is an invaluable resource for students and academics of South Asian Studies, Film Studies and Cultural Studies.
Hindi Cinema is full of instances of repetition of themes, narratives, plots and characters. By looking at 60 years of Hindi cinema, this book focuses on the phenomenon as a crucial thematic and formal code that is problematic when representing the national and cinematic subject. It reflects on the cinema as motivated by an ongoing crisis of self-formation in modern India. The book looks at how cinema presents liminal and counter-modern identities emerging within repeated modern attempts to re-enact traumatic national events so as to redeem the past and restore a normative structure to happenings. Establishing structure and event as paradigmatic poles of a historical and anthropological spectrum for the individual in society, the book goes on to discuss cinematic portrayals of violence, gender embodiment, religion, economic transformations and new globalised Indianness as events and sites of liminality disrupting structural aspirations. After revealing the impossibility of accurate representation of incommensurable and liminal subjects within the historiography of the nation-state, the book highlights how Hindi cinema as an ongoing engagement with the nation-state as a site of eventfulness draws attention to the problematic nature of the thematic of nation. It is a useful study for academics of Film Studies and South Asian Culture.
Historicizing Myths in Contemporary India by Swapna Gopinath,Rutuja Deshmukh Pdf
This book examines cinematic practices in Bollywood as narratives that assist in shaping the imagination of the age, especially in contemporary India. It examines historical films released in India since the new millennium and analyses cinema as a reflection of the changing socio-political and economic conditions at any given period. The chapters in Historicizing Myths in Contemporary India: Cinematic Representations and Nationalist Agendas in Hindi Cinemas also illuminate different perspectives on how cinematic historical representations follow political patterns and market compulsions, giving precedence to a certain past over the other, creating a narrative suited for the dominant narrative of the present. From Mughal-e-Azam to Padmaavat, and Bajirao Mastani to Raazi, the chapters show how creating history out of myths validate hegemonic identities in a rapidly evolving Indian society. The volume will be of interest to scholars of film and media studies, literature and culture studies, and South Asian studies.
India's New Independent Cinema by Ashvin Immanuel Devasundaram Pdf
This is the first-ever book on the rise of the new wave of independent Indian films that is revolutionising Indian cinema. Contemporary scholarship on Indian cinema so far has focused asymmetrically on Bollywood—India’s dominant cultural export. Reversing this trend, this book provides an in-depth examination of the burgeoning independent Indian film sector. It locates the new 'Indies' as a glocal hybrid film form—global in aesthetic and local in content. They critically engage with a diverse socio-political spectrum of ‘state of the nation’ stories; from farmer suicides, disenfranchised urban youth and migrant workers to monks turned anti-corporation animal rights agitators. This book provides comprehensive analyses of definitive Indie new wave films including Peepli Live (2010), Dhobi Ghat (2010), The Lunchbox (2013) and Ship of Theseus (2013). It explores how subversive Indies, such as polemical postmodern rap-musical Gandu (2010) transgress conventional notions of ‘traditional Indian values’, and collide with state censorship regulations. This timely and pioneering analysis shows how the new Indies have emerged from a middle space between India’s globalising present and traditional past. This book draws on in-depth interviews with directors, actors, academics and members of the Indian censor board, and is essential reading for anyone seeking an insight into a current Indian film phenomenon that could chart the future of Indian cinema.
Understanding Indian Movies by Patrick Colm Hogan Pdf
Indian movies are among the most popular in the world. However, despite increased availability and study, these films remain misunderstood and underappreciated in much of the English-speaking world, in part for cultural reasons. In this book, Patrick Colm Hogan sets out through close analysis and explication of culturally particular information about Indian history, Hindu metaphysics, Islamic spirituality, Sanskrit aesthetics, and other Indian traditions to provide necessary cultural contexts for understanding Indian films. Hogan analyzes eleven important films, using them as the focus to explore the topics of plot, theme, emotion, sound, and visual style in Indian cinema. These films draw on a wide range of South Asian cultural traditions and are representative of the greater whole of Indian cinema. By learning to interpret these examples with the tools Hogan provides, the reader will be able to take these skills and apply them to other Indian films. But this study is not simply culturalist. Hogan also takes up key principles from cognitive neuroscience to illustrate that all cultures share perceptual, cognitive, and emotional elements that, when properly interpreted, can help to bridge gaps between seemingly disparate societies. Hogan locates the specificity of Indian culture in relation to human universals, and illustrates this cultural-cognitive synthesis through his detailed interpretations of these films. This book will help both scholars and general readers to better understand and appreciate Indian cinema.