Description : A comprehensive guide to wade through the world of Indian cinema, from 1896 to 2000, this book, an enlarged edition of the original FR title, Les Cinemas de L lnde , presents its multiple regional facets illustrated by filmmakers that the world is no
Description : Indian film industry is the largest in the world. It releases 1000 plus movies annually. Most films are made in South Indian languages (viz., Telugu, Tamil and Malayalam). Nevertheless, Hindi films take the largest box office share. India has 12,000 plus cinema halls and this industry churns out 1000 plus films a year. This book gives a brief history of the world's most exciting industrial enterprise. It gives the details, facts and vital sets of data of Indian cinema with amazing finesse. Its simple style and low cost enable all reader genres to read it. Renu Saran has penned this book for the lovers of Indian cinema. She has given many good books to our valued readers. She has worked very hard to collect data and analyze information sets. That is why this book has become one of the best in its genre.
Description : This book examines the empire cinema made in Hollywood and Britain during the turbulent 1930s and 1940s.. It shows how the empire cinema constructed the colonial world, its rationale for doing so, and the manner in which such constructions were received by the colonized people.. Unique approach to the subject cinema and Empire from the perspective of the colonised rather than the coloniser.. Vast amount of original research conducted in India contributing to a fresh perspective.. Multifocal attitude which stretches through media and cultural studies, gender, film, imperial history, nationalism and postcolonialism.
Description : 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.
Description : As the largest producer of films in the world, Indian cinema is both a major industry and a distinctive art form that permeates daily life in that country and shapes emerging global cultures elsewhere. While much has been written on the history of Indian cinema, its iconography and aesthetics have yet to be analyzed as reflections of national and cultural identities. In this important new work, Rachel Dwyer and Divia Patel focus on the development of Bombay-based commercial cinema since 1913, exploring the symbolic role of settings and costumes in staging the nation and the function of makeup and hairstyles in defining notions of beauty, sexuality, and consumption. The authors also examine how factors such as ethnicity, modernization, and Westernization impact reception of film along caste, region, language, and religious lines. The economic influence of advertising in actually determining film content and the dissemination of its imagery are also discussed. Film studies scholars recently have begun to investigate advertising in the film industry and this book makes an important contribution to this emerging subfield in its engagement with Indian cinema and the impact of advertising on the culture at large.
Description : One film out of every five made anywhere on earth comes from India. From its beginnings under colonial rule through to the heights of Bollywood, Indian Cinema has challenged social injustices such as caste, the oppression of Indian women, religious intolerance, rural poverty, and the pressures of life in the burgeoning cities. And yet, the Indian movie industry makes only about five percent of Hollywood's annual revenue. In this Very Short Introduction Ashish Rajadhyaksha delves into the political, social, and economic factors which, over time, have shaped Indian Cinema into a fascinating counterculture. Covering everything from silent cinema through to the digital era, Rajadhyaksha examines how the industry reflects the complexity and variety of Indian society through the dramatic changes of the 20th century, and into the beginnings of the 21st. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable
Description : Through the lens of cinema, this book explores the ways in which the United States, Britain and India impacted each other politically, culturally and ideologically. It argues that American films of the 1920s posited alternative notions of whiteness and the West to that of Britain, which stood for democracy and social mobility even at a time of virulent racism. The book examines the impact that the American cinema has on Indian filmmakers of the period, who were integrating its conventions with indigenous artistic traditions to articulate an Indian modernity. It considers the way American films in the 1920s presented an orientalist fantasy of Asia, which occluded the harsh realities of anti-Asian sentiment and legislation in the period as well as the exciting engagement of anti-imperial activists who sought to use the United States as the base of a transnational network. The book goes on to analyse the American ‘empire films’ of the 1930s, which adapted British narratives of empire to represent the United States as a new global paradigm. Presenting close readings of films, literature and art from the era, the book engages cinema studies with theories of post-colonialism and transnationalism, and provides a novel approach to the study of Indian cinema.
Description : 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.