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"Motion pictures India History 20th century."
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Bollywood's India
Bollywood is India's most popular entertainment and one of its most powerful social forces. Its blockbusters contest ideas about state formation, capture the nation's dispersed anxieties, and fabricate public fantasies of what constitutes \"India.\" Written by an award-winning scholar of popular culture and postcolonial modernity, Bollywood's India analyzes the role of the cinema's most popular blockbusters in making, unmaking, and remaking modern India. With dazzling interpretive virtuosity, Priya Joshi provides an interdisciplinary account of popular cinema as a space that filters politics and modernity for its viewers. Themes such as crime and punishment, family and individuality, vigilante and community capture the diffuse aspirations of an evolving nation. Summoning India's tumultuous 1970s as an interpretive lens, Joshi reveals the cinema's social work across decades that saw the decline of studios, the rise of the multi-starrer genre, and the arrival of corporate capital and new media platforms. In elegantly crafted studies of iconic and less familiar films, including Awara (1951), Ab Dilli Dur Nahin (1957), Deewaar (1975), Sholay (1975), Dil Se (1998), A Wednesday (2008), and 3 Idiots (2009), Joshi powerfully conveys the pleasures and politics of Bollywood blockbusters.
eBook
Bollywood Baddies
Bollywood Baddies is the first-of-its-kind book-length narrative of villainy in Hindi films. It discusses villains, vamps, and henchmen of Bollywood cinema, and also the actors who essayed such characters over the decades. The author discusses not just villains but also the evaluation of villainous characters vis-à-vis sociopolitical conditions in the country. The narrative begins with Ashok Kumar's negative role in Kismet as early as 1943, and goes up to the Agneepath remake (2012), where Sanjay Dutt plays Kancha Cheena, earlier essayed by Danny Denzongpa in the original. In between, it discusses all major villains, from Lala Sukhiram (Mother India) to Gabbar (Sholay) to \"Lion\" Ajit (Kalicharan) to Mogambo (Mr. India), and many others. While keeping villains in the focus, it also discusses popular henchmen and vamps, like M B Shetty, Sharat Saxena, Nadira, Bindu, Helen, among others, to understand the dimension of the villains' empire. After all, it's our villains who make our protagonist the hero we all admire. An engrossing read, this book is for every film buff.
eBook
Fantasy of modernity : romantic love in Bombay cinema of the 1950s
\"Looks at the role of love and romance in the Bombay cinema of the 1950s in terms of its cultural function and social significance\"-- Provided by publisher.
Book
Voices of the talking stars : women of Indian cinema and beyond
'Voices of the Talking Stars' is a feminist historiography for films compiled by the School of Women's Studies, Jadavpur University. It interrogates the frameworks of film history, culture and politics, weaving in debates on romance, sexuality, body and masculinity.
eBook
Censorship and sexuality in Bombay cinema
India produces an impressive number of films each year in a variety of languages.Here, Monika Mehta breaks new ground by analyzing Hindi films and exploring the censorship of gender and heterosexuality in Bombay cinema.
eBook
Celluloid classicism : early Tamil cinema and the making of modern Bharatanهaٍtyam
\"This book investigates how two of the most prominent cultural forms of modern South India, Tamil cinema and Bharatanهaٍtyam dance, share complex and deeply intertwined histories. Celluloid classicism is about the entangled emergence of these two modern art forms from the 1930s to the late 1950s, decades that were marked by distinctly new, interocular modes of cultural production in cosmopolitan Madras. This book unsettles received histories of modern Bharatanهaٍtyam by arguing that cinema, in all its technological, moral, and visual complexities, bears heavily and irrevocably upon iterations of this 'classical' dance. Bringing over a decade of archival research into conversations with choreographic analysis and ethnography, this work addresses key questions around the fluid and reciprocal exchange of knowledge between screen and stage versions of Bharatanهaٍtyam in the early decades of the 20th century\"--Back cover
Book
The Performance of Nationalism
Imagine the patriotic camaraderie of national day parades. How crucial is performance for the sustenance of the nation? The Performance of Nationalism considers the formation of the Indian and Pakistani nation, in the wake of the most violent chapter of its history: the partition of the subcontinent. In the process, Jisha Menon offers a fresh analysis of nationalism from the perspective of performance. Menon recuperates the manifold valences of 'mimesis' as aesthetic representation, as the constitution of a community of witnesses, and as the mimetic relationality that underlies the encounter between India and Pakistan. The particular performances considered here range from Wagah border ceremonies, to the partition theatre of Asghar Wajahat, Kirti Jain, M. K. Raina, and the cinema of Ritwik Ghatak and M. S. Sathyu. By pointing to the tropes of twins, doubles, and doppelgangers that suffuse these performances, this study troubles the idea of two insular, autonomous nation-states of India and Pakistan. In the process, Menon recovers mimetic modes of thinking that unsettle the reified categories of identity politics.
eBook