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This book traces the journey of popular Hindi cinema from 1913 to contemporary times when Bollywood has evolved as a part of India’s cultural diplomacy. Avoiding a linear, developmental narrative, the book re-examines the developments through the ruptures in the course of cinematic history. The essays in the volume critically consider transformations of the Hindi film industry from its early days to its present self-referential mode, issues of gender, dance and choreography, Bombay cinema’s negotiations with the changing cityscape and urbanisms, and concentrate on its multifarious regional, national and transnational implications in the 21st century. One of the most comprehensive volumes on Bollywood, this work presents an analytical overview of the multiple histories of popular cinema in India and will be useful to scholars and researchers interested in film and media studies, South Asian popular culture and modern India, as well as to cinephiles and general readers alike.
inch....this work is likely to become a standart work very quickly and is to be recommended to all schools where recorder studies are undertaken inch. (Oliver James,Contact Magazine) A novel and comprehensive approach to transferring from the C to F instrument. 430 music examples include folk and national songs (some in two parts), country dance tunes and excerpts from the standard treble repertoire of•Bach, Barsanti, Corelli, Handel, Telemann, etc. An outstanding feature of the book has proved to be Brian Bonsor's brilliantly simple but highly effective practice circles and recognition squares designed to give, in only a few minutes, concentrated practice on the more usual leaps to and from each new note and instant recognition of random notes. Quickly emulating the outstanding success of the descant tutors, these books are very popular even with those who normally use tutors other than the Enjoy the Recorder series.
The Films of Mira Nair: Diaspora Vérité presents the first, full-length scholarly study of her cinema. Mira Nair has broken new ground as both a feminist filmmaker and an Indian filmmaker. Several of her works, especially those related to the South Asian diaspora, have been influential around the globe. Amardeep Singh delves into the complexities of Nair’s films from 1981 to 2016, offering critical commentary on all of Nair’s major works, including her early documentary projects as well as shorts. The subtitle, “diaspora vérité,” alludes to Singh’s primary theme: Nair’s filmmaking project is driven aesthetically by her background in the documentary realist tradition (cinéma vérité) and thematically by her interest in the lives of migrants and diasporic populations. Mainly, Nair’s filmmaking intends to document imaginatively the experiences of diasporic communities. Nair’s focus on the diasporic appears in the long list of her films that have explored the subject, such as Mississippi Masala, So Far from India, Monsoon Wedding, The Perez Family, My Own Country, The Namesake, and The Reluctant Fundamentalist. However, a version of the diasporic sensibility also emerges even in films with an apparently different scope, such as Nair’s adaptation of Thackeray’s Vanity Fair. Nair began her career as a documentary filmmaker in the early 1980s. While Nair now has largely moved away from the documentary format in favor of making fictional feature films, Singh shows that a documentary realist style remains active in her subsequent fictional cinema.
A Nobel Laureate offers a dazzling new book about his native country India is a country with many distinct traditions, widely divergent customs, vastly different convictions, and a veritable feast of viewpoints. In The Argumentative Indian, Amartya Sen draws on a lifetime study of his country's history and culture to suggest the ways we must understand India today in the light of its rich, long argumentative tradition. The millenia-old texts and interpretations of Hindu, Buddhist, Jain, Muslim, agnostic, and atheistic Indian thought demonstrate, Sen reminds us, ancient and well-respected rules for conducting debates and disputations, and for appreciating not only the richness of India's diversity but its need for toleration. Though Westerners have often perceived India as a place of endless spirituality and unreasoning mysticism, he underlines its long tradition of skepticism and reasoning, not to mention its secular contributions to mathematics, astronomy, linguistics, medicine, and political economy. Sen discusses many aspects of India's rich intellectual and political heritage, including philosophies of governance from Kautilya's and Ashoka's in the fourth and third centuries BCE to Akbar's in the 1590s; the history and continuing relevance of India's relations with China more than a millennium ago; its old and well-organized calendars; the films of Satyajit Ray and the debates between Gandhi and the visionary poet Tagore about India's past, present, and future. The success of India's democracy and defense of its secular politics depend, Sen argues, on understanding and using this rich argumentative tradition. It is also essential to removing the inequalities (whether of caste, gender, class, or community) that mar Indian life, to stabilizing the now precarious conditions of a nuclear-armed subcontinent, and to correcting what Sen calls the politics of deprivation. His invaluable book concludes with his meditations on pluralism, on dialogue and dialectics in the pursuit of social justice, and on the nature of the Indian identity.
New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.
(Applause Books). This the first book to examine the films of the acclaimed and popular Indian-born and Harvard educated filmmaker, Mira Nair. A unique voice in cinema today, she is one of the few female directors who made it to the top of a male-dominated profession. Her films feature an incomparably sensuous visual style yet at the same time often record the injustice of the disenfranchised and the cross-pollination of East and West. Her twin themes of realism and romance make for dazzling cinema. John Kenneth Muir analyzes all of Nair's work, including: Salaam Bombay! (1988), the groundbreaking story of a young boy abandoned by his family on the streets of Bombay; Mississippi Masala (1991), an interracial small town romance between an Indian woman (Sarita Choudhury) and an African American businessman (Denzel Washington); Monsoon Wedding (2001), featuring a Bollywood carnival atmosphere, one of the most successful foreign films ever released in the United States; Hysterical Blindness (2002), the HBO film featuring Uma Thurman and Juliette Lewis, looking for love in all the wrong places; The big-budget Hollywood adaptation of the Thackery novel Vanity Fair (2004), starring Reese Witherspoon, Gabriel Byrne, and Eileen Atkins.