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Indian cinema hasn’t been as much talked about worldwide since probably the first works of Satyajit Ray which were shown at the Cannes Film Festival in the 1950s-1960s. Renewed interest for the biggest film industry in the world doesn’t mean its complexity is well understood abroad or even inside India itself. Bollywood especially seems to have taken over all the other industries as if to become the only representative for Indian cinema; and Hindi cinema struggles to be known as anything else than Bollywood. Still, you’d probably have to go back to the 1970s to see, in Bombay films, such uproar and desire to give the audiences a more diverse cinema, either by renewing the song-and-dance formula, or by simply negating it. In this interview-based book, Hindi film technicians, artists and industrialists from all horizons and all age groups speak in detail about their work, and give their input on the present situation of Hindi cinema as well as its future. Whether this future will really be bright or not, one could not say; but that Hindi cinema is now living fascinating times definitely cannot be denied.
India is home to almost every religion in the world, each practised by its own set of believers. But two religions are practised, indeed celebrated, by all Indians across the length and breadth of the country all the time . . . cricket and cinema. Indian cinema is 100 years old. 105 years, to be exact, since Dadasaheb Phalke made India’s first full length silent film Raja Harishchandra in 1913. Sound entered the silent movie when Ardeshir Irani made India’s first talkie film Alam Ara in 1931. Sound brought into movies that magical potent, that elixir craved for by entertainment seeking audiences of all ages, all classes . . . . . MUSIC ! This book showcases some of Bollywood’s immortal music melodies from 1950 to 2010 that have stood the test of Time. And the people behind them. Come, let’s take a trip DOWN BOLLYWOOD STREET, ON MELODY BEAT !
This book provides a sustained engagement with contemporary Indian feature films from outside the mainstream, including Aaranaya Kaandam, I.D., Kaul, Chauthi Koot, Cosmic Sex, and Gaali Beeja, to undercut the dominance of Bollywood focused film studies. Gopalan assembles films from Bangalore, Chennai, Delhi, Kolkata, and Trivandrum, in addition to independent productions in Bombay cinema, as a way of privileging understudied works that deserve critical attention. The book uses close readings of films and a deep investigation of film style to draw attention to the advent of digital technologies while remaining fully cognizant of ‘the digital’ as a cryptic formulation for considering the sea change in the global circulation of film and finance. This dual focus on both the techno-material conditions of Indian cinema and the film narrative offers a fulsome picture of changing narratives and shifting genres and styles.
This work explores the processes of creation and articulation of social identities of Muslims in Delhi. Mapping the landscape of discrimination in Delhi’s neighbourhoods, Jamil tries to see how such fractured geographies are created. We come across people whose sense of belonging to each other is complex, and subject to forces such as regional and class identities instead of an ubiquitous ‘Muslimness’. Segregation in an urban space is produced, as Jamil argues, not only by communal conflict and threat of violence but also maintained and strengthened by processes of capitalist globalization. Through case studies of five localities, which present a historical continuity in the narrative of Delhi’s Muslims, the book presents compelling evidence of market and governance processes that aid accumulation by segregation. It offers an ‘against the grain’ reading of quotidian practices of residents within such boundaries such that a counternarrative of resistance and hope may emerge—one that may allow for re-imagining alternatives.
The largest film industry in the world after Hollywood is celebrated in this updated and expanded edition of a now classic work of reference. Covering the full range of Indian film, this new revised edition of the Encyclopedia of Indian Cinema includes vastly expanded coverage of mainstream productions from the 1970s to the 1990s and, for the first time, a comprehensive name index. Illustrated throughout, there is no comparable guide to the incredible vitality and diversity of historical and contemporary Indian film.
This book fills this gap and provides an essential resource for academics and researchers with an interest in cinematic representations of the family and transnational cinema.