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Ever since the 1947 partition of the Indian subcontinent, Mumbai-based Hindi cinema has been returning compulsively to the idea of Pakistan, sometimes as the desirable other, sometimes as the horrifying antagonist. Hindi Cinema and Pakistan traces the genesis and development of this theme in Hindi cinema in the 1950s, showcasing its relevance as a tool that both reflects and shapes how India sees its neighbour, the India–Pakistan relationship, and itself. The book is a serious, multi-platform, multi-pronged exploration of the appearances, invocations, representations and treatment of Pakistan and Pakistanis in Hindi cinema. It follows Hindi cinema’s efforts to come to terms with the ‘idea’ and ‘reality’ of Pakistan. Through in-depth analyses of the enmity and rivalry between the two subcontinental nations in Partition films, thrillers, epic war films and sports films, to screen depictions of the shared cultural past and similarities in films on cross-border love or in films that show a reaching out through humour, this book investigates the visualization of Pakistan and contextualizes these representations within the broader frameworks of India’s political, socio-cultural and popular discourse. The extensive reach of the in-depth textual analyses of Hindi cinema will make this volume interesting and valuable both to the lay reader and to researchers and academics of cultural studies, media and film studies, and the study of socio-psychological violence in media and culture.
First published in 1997 to commemorate the fiftieth anniversary of the creation of Pakistan, the book features a review of films before Partition, plots of great cinema classics, trivia, and cinema lore. It contains anecdotes and reminiscences about the people who shaped the entertainment industry, as well as interviews with directors and producers. But alongside the trivia is a clever synthesis juxtaposing the artistic development of the cinematic world with the overall social development in the country. It shows how the narrow self-interest of the ruling clique clashed with the creative potential of the artistic world, stifling originality and all but destroying the film industry. The narrative is punctuated with over a hundred photographs and contains an index of all the films made to date. In this second edition of Mushtaq Gazdar's seminal work, I. A. Rehman, Haris Gazdar, and Aisha Gazdar provide an overview of the two decades since, marking seventy years of the country's film industry. The filmography has also been updated to include the last two decades.
This new history of partition and South Asian cinema is narrated through the careers of émigré film personnel, as well as through the distinctive genres and ancillary ventures that accompanied the aftershocks of partition. Moving beyond arguments about social contingency and political intent, the book suggests that the creative energies, production and subsequent circulation of popular cinema can offer fresh insights into partition. Pointing to regional connections across national boundaries, this book asserts that the cinemas of India and Pakistan must be explored in tandem to uncover the legacy of partition for the culture industries of the region, one that is not hewn out of national erasures. The leitmotifs of émigré personnel, gossip and satire in film print culture, the partisan repertoire of a theatre company, the film genres of the Muslim social, romantic comedies and charba (remakes), and the unruly film archives of postcolonial nation–states, when accessed through the lens of a divisive decolonization, reveal the parallaxes and confabulations of the 'national' on both sides.
Film studies is a course that is often articulated in highly technical or complex critical vocabulary. This is an A-Z of the key critical terms, designed to make film texts and analysis more accessible to the student.
A free ebook version of this title is available through Luminos, University of California Press’s Open Access publishing program. Visit www.luminosoa.org to learn more. In this capacious transnational film history, renowned scholar Masha Salazkina proposes a groundbreaking new framework for understanding the cinematic cultures of twentieth-century socialism. Taking as a point of departure the vast body of work screened at the Tashkent International Festival of Cinemas of Asia, Africa, and Latin America in the 1960s and 1970s, World Socialist Cinema maps the circulation of films between the Soviet Bloc and the countries of the Global South in the mid- to late twentieth century, illustrating the distribution networks, festival circuits, and informal channels that facilitated this international network of artistic and intellectual exchange. Building on decades of meticulous archival work, this long-anticipated film history unsettles familiar stories to provide an alternative to Eurocentric, national, and regional narratives, rooted outside of the capitalist West.
The book presents a rich collection of critical essays, ethnographic writings, memoirs, and reflections, portraying a well-rounded picture of cinema culture and historical change in Pakistan. The multiplicity of voices and approaches enhances the appeal of this collection, which is the first ever to delineate the diversity in the cinematic and extra-cinematic traditions of Pakistan, as well as in the histories of production, exhibition, and reception. The work also highlights aesthetic and affective politics in relation to nationalism; Islamization in policy and practice; the biopolitics of morality, ethnicity, gender, and sexuality; and the phenomenology of film exhibition and urban formation. The book incorporates rarely seen nostalgia items, such as pictures of studio shootings, as well as of film actors, film scenes, posters, and lobby cards.
This book, the first academic book on Pakistani documentary cinema, traces the development of activist filmmaking practices in Pakistan which have emerged as a response to the consequences of religious fundamentalism, extremism, and violation of human rights. Beginning with the period of General Zia-ul-Haq’s Islamization process (1977-88), it discusses a selection of representative documentary films that have critically addressed and documented the various key transformations, events, and developments that have shaped Pakistan’s socio-political, socio-economic, and cultural history. Such activist filmmaking practice in Pakistan is today an influential factor in addressing the politics, and negative and oppressive effects of the Islamization era, discriminatory laws, particularly gender-discriminatory Sharia laws, violation of human and citizen rights, authoritarianism, internal strife, the spread of religious fundamentalism, and the threat of Talibanization, and oppressive tribal customs and traditions. The contribution of Pakistani documentary filmmakers stands as a significant body of work that has served the cause of human rights, promoting awareness and social change in Pakistan, particularly regarding gender rights.
This is the essential guide for anyone interested in film. Now in its second edition, the text has been completely revised and expanded to meet the needs of today's students and film enthusiasts. Some 150 key genres, movements, theories and production terms are explained and analyzed with depth and clarity. Entries include:* auteur theory* Blaxploitation* British New Wave* feminist film theory* intertextuality* method acting* pornography* Third World Cinema* Vampire movies.
Introduction to 65 is a 2021 Indian film by director Nikhil Nagesh Bhat. The movie is set in the year 1965, a significant period in the history of India when the country was fighting a war with Pakistan. It follows the story of Subedar Joginder Singh and his battalion of soldiers, who are posted at the border to protect their country. This film attempts to bring to light the courage and bravery of the Indian soldiers who fought in this war. The movie stars Gippy Grewal in the lead role of Subedar Joginder Singh, and he is supported by a talented ensemble cast. The film is a tribute to the sacrifices made by Indian soldiers during the 1965 Indo-Pak war. With stunning visuals and heartfelt performances, Introduction to 65 is a tale of patriotism and heroism, which will leave a lasting impact on its audience.
Throughout the twentieth and early twenty-first centuries, cinema has been adopted as a popular cultural institution in Bangladesh. At the same time, this has been the period for the articulation of modern nationhood and cultural identity of Bengali Muslims in Bangladesh. This book analyses the relationship between cinema and modernity in Bangladesh, providing a narrative of the uneven process that produced the idea of "Bangladesh cinema." This book investigates the roles of a non-Western "national" film industry in Asia in constructing nationhood and identity within colonial and postcolonial predicaments. Drawing on the idea of cinema as public sphere and the postcolonial notion of formation of the "Bangladesh" nation, interactions between cinema and middle-class Bengali Muslims in different social and political matrices are analyzed. The author explores how the conflict among different social groups turned Bangladesh cinema into a site of contesting identities. In particular, he illustrates the connections between film production and reception in Bangladesh and a variety of nationalist constructions of Bengali Muslim identity. Questioning and debunking the usual notions of "Bangladesh" and "cinema," this book positions the cinema of Bangladesh within a transnational frame. Starting with how to locate the "beginning" of the second Bengali language cinema in colonial Bengal, the author completes the investigation by identifying a global Bangladeshi cinema in the early twenty-first century. The first major academic study on this large and vibrant national cinema, this book demonstrates that Bangladesh cinema worked as different "public spheres" for different "publics" throughout the twentieth century and beyond. Filling a niche in Global Film and Media Studies and South Asian Studies, it will be of interest to scholars and students of these disciplines.