Description : Since the mid-1990s, Brazil has produced nearly 200 feature length films. Many of these have been received enthusiastically by audiences and critics and released worldwide. This passionately argued and illuminating book provides the first comprehensive critical account of what is known as the ‘Renaissance of Brazilian cinema’ and demonstrates just how thought-provoking and inspiring Brazilian cinema has become. The book looks at the broader political and policy-making issues for this dynamic new cinema. It also offers close analyses of internationally acclaimed films like Central Station, Seven Days in September, Orfeu and Me You Them and investigates daringly experimental works, such as Chronically Unfeasible, Starry Sky and Perfumed Ball. It examines common factors across a great variety of films, including film makers’ engagement with national identity, a major concern for the Cinema Novo of the 1960s, which has emerged in contemporary films with new relevance in a globalized world. The contributors include film and cultural policy-makers who have participated in the Brazilian film revival as well as film scholars and journalists, giving a variety of readings of films, movements or filmmakers, stimulating debate and presenting throughout contrasting, even opposing viewpoints. The beauty of Nagib's book makes readers want to seek out the films being described...a valuable collection. - Film International
Description : Popular Indian Cinema is clearly a worldwide phenomenon. But what often gets overlooked in this celebration is this cinema’s intricate relationship with global dynamics since its very inception in the 1890s. With contributions from a range of international scholars, this volume analyses the transnational networks of India’s popular cinema in terms of its production, narratives and reception. The first section of the book,Topographies, concentrates on the globalised audio-visual economies within which the technologies and aesthetics of India’s commercial cinema developed. Essays here focus on the iconic roles of actors like Devika Rani and Fearless Nadia, film-makers such as D G Phalke and Baburao Painter, the film Sant Tukaram, and aspects of early cinematography. The second section, Trans-Actions, argues that the ‘national fantasy’ of Indian commercial cinema is an unstable construction. Essays here concentrate on the conversations between Indian action movies of the 1970s and other genres of action and martial arts films; the features of post-liberalisation Indian films designed to meet the needs of an ‘imagined’ global audience in the 1990s; and the changing metaphor of ‘the vamp’ as portrayed through desirous women in films with examples of the Anglo-Asian, the westernized Indian woman of ‘low character’, and the contemporary figure of the ‘heroine’. The final section, Travels, focuses on the overseas reception of Indian cinema with ethnographic case studies from Germany, Guyana, the USA, South Africa, Nigeria and Britain. The contributors highlight various issues concerning modernity, racial/ethnic identity, the gaze of the ‘mainstream Other’, gender, hybridity, moral universes, and the articulation of desire and disdain.