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A sensitive biography of father of Indian Cinema, who transformed the dream of making the indian film industry indegenous into a reality.Translated into english by S.A. Virkar.
This book is William's symbol for the military-industrial complex and all the dehumanizing trends it represents from mindless cocktail party chatter to bribery of officials to assassination plots directed against those who won't play the game, to attempted coups by right-wing zealots.
Shyam Benegal is the best known and most prolific contemporary film-maker from India's arthouse or 'New Cinema' tradition. This work traces a career with its beginnings in political cinema and a realist aesthetic. Sangeeta Datta demonstrates how the struggles of women and the dispossessed and marginalised in Indian society have found an eloquent expression in films as diverse as Nishant, Bhumika, Mandi, Suraj Ka Satwan Ghoda and Kalyug. The book also traces Benegal's work with his protégés and collaborators including many of the biggest names in Indian Cinema - Shabana Azmi, Smita Patil, Naseeruddin Shah, Karishma Kapoor and A.R. Rahman.
On the life sketches and contributions of Dadasaheb Phalke Awardees.
Behind the humble chilli is a fascinating story that takes one around the world. This story is not just about the spicy chilli, but also about the adventures of brave warriors and traders, about stormy seas and new lands. Enjoy this fascinating account written by a renowned expert on globalization. 'Around the World With a Chilli' is written by Nayan Chanda. © Pratham Books, 2015. Some rights reserved. Released under CC BY 4.0 license. 'Around the World With a Chilli' has been published on StoryWeaver by Pratham Books. The development of this book has been supported by HDFC Asset Management Company Limited- a joint Venture with Standard Life Investments. www.prathambooks.org
As Calcutta's star begins to fade, with the capital of His Majesty's India shifting to Delhi, Abani Chatterjee's is on the rise. He is well on his way to become the country's first silent screen star. But just as he is about to find fame, an occurence in the form of personal disaster strikes in the Chatterjee household.
This book is a collection of incisive articles on the interactions between Indian Popular Cinema and the political and cultural ideologies of a new post-Global India.
The Cinema of Prayoga presents the rich and unseen world of artists' film from India. Prayoga is a Sanskrit word, which loosely translates as "experiment", but can also mean "representation," Over the last three years, the no.w.here lab has reseached a rich vein of visual arts-based work from the early twentieth century onwards that, despite the huge popularity of Indian cinema, remains relatively unknown. This project aims to present these works in a comprehensive appraisal of film work outside the popular Bollywood films for which India is traditionally known. This volume traces a history of powerful and personal filmmaking outside of the industrialized system.
Cinema in India has always been a play of middle-class sensibilities and fantasy life. And, this middle class now seems to have come into its own. From the time of Indira Gandhi, the political agendas of political parties and leaders have been increasingly shaped by middle-class consciousness and popular cinema has become for this class both an ideological phalanx and a major vehicle of self-expression. The media-exposed public in turn has become more accessible through the mythic structures and larger-than-life figures of popular cinema. The medium has become a new, more powerful language of public discourse. This book, like its companion volume The Secret Politics of our Desires (1998), is a product of this awareness. It uses Indian popular cinema to reexamine the relationships among society, politics, and culture. The six essays in it, mostly by contributors from outside the world of film studies and film criticism, span topics such as showmanship and stylization of images; the human characterization of abstract concepts such as good and evil; the open-ended, episodic and fragmented nature of the narrative, cemented together through devices such as family "history" and "filial love"; and the re-emergence of "Hindustani" as a secular language of film. The essays also cover popular cinema's fear of using comedy when dealing with the legitimacy and authority of the state; the "ideal" femininity conjured by Lata Mangeshkar's voice; and the debts to Hollywood and the carnivalesque that shape Guru Dutt's comedies.
This volume points to the limits of models such as regional, national, and transnational, and develops ‘network’ as a conceptual category to study cinemas of India. Through grounded and interdisciplinary research, it shows how film industries located in disparate territories have not functioned as isolated units and draws attention to the industrial traffic – of filmic material, actors, performers, authors, technicians, genres, styles, sounds, expertise, languages, and capital, across trans-regional contexts -- since the inception of cinema. It excavates histories of film production, distribution and exhibition, and their connections beyond regional and national boundaries, and between places, industrial practices, and multiple media. The chapters in this volume address a range of themes such as transgressive female figures; networks of authors and technicians; trans-regional production links and changing technologies, and new media geographies. By tracking manifold changes in the contexts of transforming media, and inter-connections between diverse industrial nodal points, this book expands the critical vocabulary in media and production studies and foregrounds new methods for examining cinema. A generative account of industrial networks, this volume will be useful for scholars and researchers of film studies, cinema studies, media studies, production studies, media sociology, gender studies, South Asian studies, and cultural studies.