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A legend of Hindi cinema, Gulzar is among South Asia's finest poets and lyricists, whose songs have touched millions. He remains as popular today, and as sensitive a chronicler of our emotions, as he was over half a century ago. In this book of conversations with the acclaimed author and documentary filmmaker Nasreen Munni Kabir, Gulzar speaks about the making of his most enduring songs--from 'Mora gora ang lai le' (Bandini; 1963) and 'Dil dhoondta hai' (Mausam; 1975) to 'Jiya jale' (Dil Se; 1998) and 'Dil toh bachcha hai ji' (Ishqiya; 2010).
Celebrities are more in the tough spot now than ever before and are easy targets for ridicule on social media. But they are people with a lot of leadership influence i.e. they dissent, they don't conform, they balance morality and power, etc. These all traits get reflected in their creational work be it movies, any other form of art, or even private lives too.
An ebook describing the psyche of people, city dynamics good travel places, good food places, scams that happen India, Indian transport, food, money in the form of 10 short stories. a book for travellers by travellers.the book features Mumbai, Jaipur, Pushkar, Jodhpur, Udaipur, Delhi, Calcutta, Kochi, Varkala, Munnar. The book also has short chapters on modern social concepts prevailing in India which are-Music, Cinema, Yoga, drugs, Homosexuality, Religion, Bargaining, Indian corporate and Indian products. The book has a special chapter in the book which takes you for a trip in time to make you feel Indian vintage era. the book also has music recommendations for every chapter you can find them on Spotify under the playlist Simba Travels India. The whole story revolves around a traveller Simba who has a dual personality syndrome. who looks India through the eyes of an alien who knows nothing about the earth and then compares it with the vision of a street smart Indian. I have met many travellers around India facing the same kind of issues for example-where to go? where to eat? how much to pay for what? how to travel around here? what do various gestures mean? how to explore India not just as a country but as a culture too? .The book intends to help you in dealing with all those and its free because it should be. Have fun reading it and do leave me a review of how you felt
“Rao gives new meaning to ‘dinner and a movie’ by creating menus inspired by classic Indian films.”—Houston Chronicle Indian cuisine and Indian cinema (known as Bollywood) share much in common—bold colors and flavors with plenty of drama. But to the uninitiated, they can seem dizzying. Let Sri Rao be your guide. As one of the only Americans working in Bollywood, Sri is an expert on Indian musical films, and as an avid cook, he’s taken his mom’s authentic, home-cooked recipes and adapted them for the modern, American kitchen. In this book you’ll find dinner menus and brunch menus, menus for kids and menus for cocktail parties. Along with each healthy and easy-to-prepare meal, Sri has paired one of his favorite Bollywood movies. Every one of these films is a musical, packed with dazzling song-and-dance numbers that are the hallmark of Bollywood, beloved by millions of fans all over the world. Sri will introduce each film to you, explaining why you’ll love it, and letting you in on some juicy morsels from behind the scenes. “Rao has created more than a book of recipes. There is seldom a cookbook that voracious readers can flip through for story; this one feeds the eye and imagination. One can run their thumb and forefinger over technicolor pages featuring decadent film and food stills. The narrative also unearths the author: cheeky, perceptive, honest.”—Edible Brooklyn “Full of humor and insight, Bollywood Kitchen makes a great read, even if neither Bollywood nor cooking are your passions. A delightful read.”—News India Times
CMOK to YOu To presents the 2015 email correspondence of the Serbian-born poet, art critic and playwright Nina Zivančevic and Canadian cultural theorist Marc James Léger. In December of 2014 Léger invited Zivančevic to contribute a text to the second volume of the book he was editing, The Idea of the Avant Garde - And What It Means Today. Taken with each other's idiosyncrasies, their correspondence gradually shifted from amiable professional exchanges and the eventual failure to organize a scholarly event to that of collaborating on some kind of writing project. Several titles were attempted for the eventual book - Marshmallow Muse: The Exact and Irreverent Letters of MJL and NZ, The Orange Jelly Bean, or, I Already Am Eating from the Trash Can All the Time: The Name of This Trash Can Is Ideology, The Secreted Correspondence of Mme Chatelet and Voltaire, and I'm Taken: The E-Pistolary Poetry of Kit le Minx and Cad - but none of these proved to be more telling than CMOK, the Serbian word for kiss, which sums up the authors' quest for "harmony" in an altogether imperfect world and literary medium. In this book, names of real people were changed in order to protect those who might otherwise be offended by the unguarded and absurdist commentary of its authors. Despite this fact, it is the fragility and elasticity of the writers' superegos that is tested as they vacillate from personal registers to intellectual strata. At once a cis-avant-gardist's exploration of anti-art and a poet's claim to some weak form of autonomy, CMOK delights in both the pleasures of casual email and the sublime realizations of Jacques Lacan's theory of sexuation. CMOK is a hybrid genre and a quest into the real of virtuality that defies the literary standards. Its authors, who never met, answer one another's basic needs and questions, separated as they are by time zones and the ocean, but not culturally or spiritually.
Since their beginnings in the 1930s, Hindi films and film songs have dominated popular culture in South Asia and the diaspora and more recently gained popularity in Russia, the Middle East, parts of Africa, Britain and the US. Anna Morcom examines Hindi f
Ishtyle follows queer South Asian men across borders into gay neighborhoods, nightclubs, bars, and house parties in Bangalore and Chicago. Bringing the cultural practices they are most familiar with into these spaces, these men accent the aesthetics of nightlife cultures through performance. Kareem Khubchandani develops the notion of “ishtyle” to name this accented style, while also showing how brown bodies inadvertently become accents themselves, ornamental inclusions in the racialized grammar of desire. Ishtyle allows us to reimagine a global class perpetually represented as docile and desexualized workers caught in the web of global capitalism. The book highlights a different kind of labor, the embodied work these men do to feel queer and sexy together. Engaging major themes in queer studies, Khubchandani explains how his interlocutors’ performances stage relationships between: colonial law and public sexuality; film divas and queer fans; and race, caste, and desire. Ultimately, the book demonstrates that the unlikely site of nightlife can be a productive venue for the study of global politics and its institutional hierarchies.
While we have become familiar with the idea of "Bollywood" here in the West, we know little about the industry's films beyond a certain celebration of kitsch. Bollywood, the latest in Wallflower Press's Short Cuts introductory series, surveys this style of filmmaking from its origins in colonial times to the present, tracing its impact on both the Indian and global imagination. Chapters explore the history and workings of the industry, the narratives and aesthetics of its films, varieties within the genre, the cultural connotations of specific characters, its larger-than-life stars, and its hybrid and surprising fan cultures. Readings of popular and widely available films illustrate the importance of the cinema's conventions, which range from romantic clichés to a constant negotiation between tradition and modernity.